The Barber of Seville or The Useless Precaution – Homage to John Reichard | Stumbling on melons Mozart in the City » The Barber of Seville or The Useless Precaution – Homage to John Reichard The impending Opera Australia production of The Barber of Seville has reminded me of when, in 1992, I was one of three musicians in a production of the original play by Beaumarchais at the Marian Street Theatre at Killara on Sydney’s North Shore. The above picture is of me camping it up backstage. I had graduated in law that morning, so I donned both costumes at once for the photo-opp. The translation was abridged to allow for a cut-down cast (Marian Street, which subsequently went broke, was not a large theatre). The cast was a strong one. It included: Don Basilio: John Dicks Other characters were written out, some of them in the course of rehearsals as the director, Peter Kingston, realised that we musicians were not up to the job. Two of us had a walk-on role for the denouement: I played the notary who solemnizes the wedding at the end of the play (and is hence indispensible).

Until we slipped around to the back of the set for the final scene, we musicians sat at the side of the stage for the entire performance, wigged and stockinged in period garb (as you can see above): Sally, the flautist; John Reichard, cellist; and me, pretending to pay harpsichord on an electric keyboard (the most unsatisfactory part of the arrangement). There were musicians because the play includes a number of songs. The Count, disguised as Lindoro, serenades Rosina and later insinuates himself into the house of her jealous guardian on the pretext of giving singing lessons. The music was specially composed by Stephen Rae . In addition, in a kind of backwards tribute to the opera, I had to improvise Rossini-esque quasi-recitative accompaniments under the numerous soliloquies and occasional pieces of action. It was a pretty amazing experience, working with a bunch of very interesting and funny people. Amongst this crowd Jacqui McKenzie was the most subdued. She might just have been tired: for most of the run she was also filming Romper Stomper. We did 8 performances a week from Tuesday to Sunday with two shows on Saturday and Wednesday.

The Wednesday matinee was at 11 am and was always the hardest. At the time I was attending College of Law 9.30 to 3.30 daily at St Leonards and also had some music teaching work at the school where I had been teaching part-time when I did my law degree. I don’t think I would have the strength or stamina to do so much today. I had to wag class to do the Wednesday matinee (“wag” is the appropriate word because College of Law was very much like school), except for one unavoidable assessment task where the Stephen Rae (who is also an actor) took my place. I was a little miffed to be told how much funnier he was than I. But it shouldn’t have been surprising that he was. One of the most instructive aspects of this experience was the moments when, at the end of the play, I was centre-stage with the actors, and could experience up close their quivering with larger-than-life comic charisma. We musicians were inevitably pallid by comparison. The play was not a runaway success. Eighteenth century-comedies, even if abridged, tend to be wordy, and the comic plot is, to modern tastes, fairly trivial.

This inevitably had an effect. At one point midway through the run our stage manager, Libby, gathered the cast together and delivered a little “get your act together” speech about how things were slipping and that she felt it had reached a point where people might notice it out front. I wondered if she had been taught this this as part of the stage managers’ course at NIDA. Towards the end of the play there is a storm scene. This is a famous instrumental interlude in Rossini’s operatic adaptation. We had a backstage wind machine, and also had to improvise suitably manic music. To add to the wildness I had prerecorded (as you can on an electric keyboard) part of the music to which I would then further add in real time. Imagine my surprise one night, when I pressed the button out came The House of the Rising Sun. Imagine how shamefacedly Libby confessed that, fiddling around on the keyboard in the course of the day, she had been responsible for this. Most nights John Reichard, the cellist, gave me a lift back to the city.

Since we sat through every performance (there were 58 in all as well as the preceding rehearsals) our conversation on these trips inevitably became infused with dialogue from the play. It is amazing how a play can furnish lines for every occasion. One of the classical admonitions to musicians and I suppose to other performers who might be tempted to treat a performance of a familiar work with less than total respect is to remember that you never know who might be hearing the work for the first time. I recently read in our local rag that some young up-and-coming actor determined to tread the boards after being taken to Marian Street as a child to see Bruce Spence in The Barber of Seville. Of the three musicians, Sally was possibly the most proficient. John’s playing could be very variable. This seemed to relate to fluctuations in his temperament. He had a rather unusual appearance, having had in his teenage years some primitive and radical brain surgery. He also had some infirmity in his legs which may have been from a childhood soccer injury. His career in music was a latish-in-life one and it wasn’t going so well. He had not been re-engaged for a scratch orchestra which from time to time gave concerts at the Opera House.

Early in 1994, just before Francis Giacco’s Homage to John Reichard won the Archibald Prize, he hanged himself. I dedicate this post to him. Like this: Rossini - Overture from the "Barber of Seville" - YouTube Rossini - Overture from the "Barber of Seville" Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jul 25, 2008 Gioachino Antonio Rossini (1792 - 1868) "The Barber of Seville", or "The Useless Precaution" ("Il barbiere di Siviglia, ossia L'inutile precauzione") is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Beaumarchais's comedy Le Barbier de Séville) by Cesare Sterbini.

The overture, first written for "Aureliano in Palmira", is a famous example of Rossini's characteristic Italian style. The première (under the title Almaviva, or the Useless Precaution) took place on February 20, 1816, at the Teatro Argentina, Rome. Category Standard YouTube License Music The Barber Of Seville | Operas | Season And Tickets | Opera Carolina The Barber of Seville The barber will see you now Saturday, October 22nd - 8:00 pm Thursday, October 27th - 7:30 pm Sunday, October 30th - 2:00 pm Buy Tickets The Barber of Seville / Il barbiere di Siviglia Bugs Bunny once did a version of The Barber of Seville. But Rossini did it first. The comic opera lends itself to being lampooned and “cartooned.” It’s a wild adventure filled with gossip and secrets where a happy ending is guaranteed. Synopsis Rossini’s The Barber of Seville is so embedded in popular culture, Bugs Bunny sampled its songs. It’s a madcap romp involving disguises; false identities; and a busybody, matchmaking barber.

Multiple suitors are vying for the same woman’s affections in an opera so slapstick, it was suitable material for a cartoon. In the original version, the tunes aren’t looney. They’re lyrical. Libretto by Cesare Sterbini from the comedy by Pierre-Augustin Caron de Beaumarchais The story takes place in 18th century Seville. Accessibility Options English Supertitles Provided During The Performance Act I Count Almaviva comes, in disguise, to the house of the elderly Dr. Bartolo to serenade his young ward, Rosina. Dr. Bartolo intends to marry Rosina, and he’s confined her to his house. Figaro, the titular barber, has access to the homes of Seville’s elite. He knows the town’s secrets and scandals. He arrives at Dr. Bartolo’s home and pledges his help to Count Almaviva, who takes on the persona of “Lindoro,” a poor student who hopes young Rosina will love him not because he’s a nobleman, but for himself.

To enter Bartolo’s house, Figaro devises a plan: The Count will disguise himself as a drunken soldier with orders to be quartered at Dr. Bartolo’s. Then, he can declare his love for Rosina. Scene Two. Alone in the house, Rosina reflects on the voice that has enchanted her and resolves to use her considerable charm to meet “Lindoro.” Dr. Bartolo enters with Rosina’s music master, Don Basilio, who warns him that Count Almaviva (Rosina’s admirer) has been seen in Seville. Dr. Bartolo decides to marry Rosina immediately – before any other suitor can have her. Figaro overhears this, warns Rosina and promises to deliver a letter from her to “Lindoro.” Disguised as a drunken soldier, Almaviva passes Rosina a note, which she manages to hide from Dr. Bartolo, who argues that he has exemption from housing soldiers. An argument ensues between the Count and Dr. Bartolo. Figaro enters and announces that a curious crowd has gathered in the street. The city guards burst in to arrest the drunk and disorderly soldier.

The Count quietly reveals his true identity to the captain of the guards. He’s released, to Dr. Bartolo’s chagrin and everyone’s amazement. Act II Dr. Bartolo, alone in his study, suspects the “drunken soldier” was a spy. The Count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He says he’s come to give Rosina her music lesson instead of Basilio, who’s at home sick. “Don Alonso” tells Dr. Bartolo he’s staying at the same inn as Almaviva and has found Rosina’s letter. He offers to tell Rosina it was given to him by another woman, proving Lindoro is toying with her. This convinces Dr. Bartolo that “Don Alonso” is a true student of Don Basilio, and he allows him to give Rosina her music lesson. Figaro arrives to give Dr. Bartolo his shave and manages to snatch the key that opens the balcony shutters. The shaving is about to begin when Don Basilio shows up looking perfectly healthy.

To get the meddlesome Basilio out of the way, Figaro convinces him he has scarlet fever and should go to bed at once. With Basilio out of the way, the shaving begins and distracts Dr. Bartolo from hearing Almaviva plotting with Rosina to elope that night. But Dr. Bartolo hears the phrase “my disguise” and realizes he’s been tricked again. Later that evening, Basilio is summoned by Dr. Bartolo and is told to bring a notary so Rosina and Bartolo can be married. Dr. Bartolo then shows Rosina her letter to Lindoro as proof that Lindoro is tricking her. Convinced she’s been deceived, she agrees to marry Dr. Bartolo and tells him of the plan to elope with Lindoro. After a thunderstorm, Figaro and the Count climb over the wall into Bartolo’s house. Rosina is furious with them, until Almaviva reveals his identity and professes his love for her. Basilio arrives with the notary. Bribing and threatening him, Basilio agrees to be a witness to the marriage of Rosina and Count Almaviva. Dr.

Bartolo arrives with soldiers, but it’s too late. Count Almaviva explains tells Dr. Bartolo that it’s useless to protest, and Dr. Bartolo accepts he has been beaten. Figaro, Rosina and the Count celebrate their good fortune. POPOpera Facts If you think opera is nothing but drama and death, you haven’t seen Rossini’s The Barber of Seville. But you’ve undoubtedly heard its music. Both Bugs Bunny and Woody Woodpecker sampled its songs. The Looney Tunes version, The Rabbit of Seville, is almost as zany as Rossini’s original. If you like the antics of The Three Stooges, then The Barber of Seville is not too silly for you. Disguises, false identities and a busybody, matchmaking barber are all part of the plot. The comedy is broad and physical. It’s no wonder cartoons adapted the theme and music. And after all the laughs, there is, of course, a happy ending.

Meet the Composer Gioachino Rossini (1792-1868) Known as Italian opera’s comic genius and the leading opera composer of the first half of the 19th century, Gioachino Rossini was the master of simple melody and clear rhythm. Born in 1792 to a musical family – his father a trumpet player, his mother an opera singer – Rossini mastered the trade at an early age, writing his first opera at age 8 and becoming a national celebrity by the time he was 21. From Venice to Milan, from Rome to Naples, Rossini gained a reputation for his notable style and his uncanny speed at producing operas. Between 1808 and 1829, Rossini composed no fewer than 40 operas. Among his greatest successes are The Barber of Seville (1816), La Cenerentola (1817), La Gazza Ladra (1817), Semiramide (1823) and William Tell (1829). His comic masterpiece, The Barber of Seville, has delighted audiences of all ages for nearly 200 years.

Also bearing the title The Useless Precaution, the opera was an instant sensation in Italy and shortly thereafter throughout Europe as the quintessential opera buffa. (That’s Italian for “comic opera.”) Based on Beaumarchais’ play , The Barber of Seville is sometimes referred to as the first modern Italian opera. Written by the then-23-year-old composer, The Barber of Seville came at a time when Italian audiences were still amused by the farcical operatic conventions of opera buffa. While The Barber is often referred to as an Italian opera buffa, it is the true precursor to subsequent lyric comedies such as The Elixir of Love, Don Pasquale and even Verdi’s Falstaff. Rossini composed The Barber of Seville in just three weeks, with the exception of the now famous overture, which he borrowed from his own opera Aureliano in Palmira. In 1822, Rossini settled in Paris and became the Royal Composer and Inspector General of Singing in France. Despite his enormous success – even Beethoven congratulated him on The Barber of Seville – Rossini stopped composing at the age of 37.

Living off the wealth of his achievements, Rossini lived lavishly until his death in 1868. He was buried in Paris but 19 years later his remains were re-interred in the church of Santa Croce in Florence. Meet the Cast The Barber of Seville (Theatre) - TV Tropes The Barber of Seville You need to login to do this. Get Known if you don't have an account Share Theatre / The Barber of Seville × — Bugs Bunny 's improvised English lyrics, Rabbit of Seville Or, in the original Italian, Il barbiere di Siviglia, ossia L'inutile precauzione: "The Barber of Seville, or The Useless Precaution." It is a Romantic Comedy drawing upon the Commedia dell'Arte tradition. The Opera we're talking about is the version composed by Gioachino Rossini , and it isn't the only work by this name. Pierre Beaumarchais wrote a play, Le Barbier de Seville, which was first performed in 1775; it has been adapted a good four times, but Rossini's work gets the Adaptation Displacement Award by virtue of popularity.

Its "sequel," The Marriage of Figaro , was actually written some 30 years earlier by some Austrian kid named Wolfgang Amadeus Mozart . The third play in the Beaumarchais's trilogy, La Mï¿½re coupable ("The Guilty Mother"), was also adapted into opera, but today is basically forgotten by history, possibly due to its Genre Shift to Darker and Edgier drama. The Barber of Seville revolves around a noble, Count Almaviva, who has a serious case of Love at First Sight with a girl named Rosina, currently living as a ward to Dr. Bartolo. The Count, who wants Rosina to love him, not his title or money, has been disguising himself as a music student named Lindoro, but the two have not even had an occasion to speak yet. Help enters in the form of Figaro, the Count's former servant and the titular Barber of Seville, who has Dr. Bartolo's trust and offers his services to the Count — for a fee, of course. This being a comedy, Hilarity Ensues . The main opposition is the aforementioned Dr. Bartolo, a physician who wants to marry Rosina himself.

Rosina's music teacher, Don Basilio, is in league with him in this quest. There is also a character named Berta, also known as Marcellina, who was probably thrown in as a Continuity Nod (or Chekhov's Gunman ) to Mozart's opus; she is The Ghost in Beaumarchais' play, and her role in Barber amounts to little more than a cameo . You've probably heard of this opera, and that's because The Barber of Seville is one of the most popular productions of the genre. As observed by characters in the manga Victorian Romance Emma , nobody dies in this show; it also offers a lot of opportunities for humor which even modern audiences would get. And we can hardly forget the Looney Tunes homage stuff (" Rabbit of Seville ", anyone?). And Woody Woodpecker 's " The Barber of Seville " take on it as well. The Barber of Seville provides examples of the following tropes: Almighty Janitor . Figaro fits the type, despite being a barber.

Barber of Seville review Review: The Barber of Seville (Il Barbiere di Siviglia) By Gioachino Rossini (1792-1868) Libretto by Cesare Sterbini (1784-1831) The Virginia Opera at George Mason University Conductor: Peter Mark Photo/Anne M. Peterson The Virginia Opera’s production of “The Barber of Seville,” with left to right: Jason Detwiler as Figaro, Steven Condy as Dr. Bartolo, and in the background, John Zuckerman as Count Almaviva and Manon Strauss Evrard as Rosina. Il Barbiere di Siviglia by Gioachino Rossini (1792-1868) is one of the greatest and most enduring comic operas of all time, which even Beethoven, who was not a great fan of Italian opera, enjoyed. “Give us more Barbers!” he told Rossini, when the Italian composer visited Beethoven in Vienna. The Virginia Opera Company has a mission to bring grand opera to as wide an audience as possible, and the group travels across the Commonwealth of Virginia in this effort.

Their production at George Mason University in Fairfax County in April 2009 of the Barber of Seville lived up to these ideals, and succeeded in transmitting both the light-hearted comedy, as well as powerful ideas. After nearly 200 years, the popularity of this opera still continues to grow, like a building crescendo in a Rossini overture. Thanks to the conductor and artistic director, Peter Mark, we all knew from the opening measures that a great comedy was about to unfold. Figaro’s vocally demanding introduction, “Largo al factotum,” is considered opera’s most internationally recognized aria, and the role of Rosina has to be one of the most coveted roles in the operatic profession. The opera opens with tenor John Zuckerman as Almaviva, accompanied by musicians about to serenade Rosina at her balcony window. Zuckerman has a beautiful light tenor voice and insightful acting skills. He gave himself over completely to portraying his role, and especially worth mentioning was his appearance in Act II disguised as the substitute music teacher. Although his voice lacked the necessary volume in some of the duets and ensemble pieces, his artistry overshadowed this problem.

Figaro (baritone Jason Detwiler) enters with his famous aria commanding the stage with his great agile voice and comedic acting, despite the unnecessary distraction of three young scantily-clad women dancing around him. When done correctly, Figaro can infect the audience with his wordplay and his exuberant zest for life—and Mr. Detwiler was superb, especially given the staging there. Almaviva expresses his interest in Rosina and hires Figaro to devise a plan to win the heart of the girl. Soprano Manon Strauss Evrard, as Rosina, stole the limelight with her unforgettable coloratura voice as she introduces herself by singing “Una voce poco fa” telling us that she is docile and obedient, BUT—she can be a viper when challenged. Rossini always demanded “voce, voce, voce” from his bel-canto singers, and he would surely be delighted to see the caliber of Ms Strauss Evrard’s polished sound and great accuracy of articulation which is so critical in any Rossini piece. Against this flowering love story is the baritone Steven Condy as the old Dr. Bartolo who keeps his ward, Rosina, as a virtual prisoner hoping to marry her.

Condy meets the challenges of a very demanding role with full-bodied phrasing and the ability to deliver every nuance of voice and expression. Coming to his aide is the cynical, corrupt music teacher, Don Basilio (bass, Mark McCrory) who convinces Dr. Bartolo to use slander to destroy his young rival. McCrory’s thunderous lower register filled the entire auditorium in “la calunnia,” as he conveyed the sinister power of slander, as the oldest, dirtiest, and possibly the most effective tool to destroy a targeted person. The oligarchy had used it against political enemies for centuries 1 , and in fact, they still do. Rossini’s Serious Opera Buffa Rossini was a prolific composer who wrote with astounding speed. By age 20 he already enjoyed celebrity status, and had six successful operas. Starting as a child, Rossini had music lessons from private tutors and ended his studies at the conservatory at Bologna. However, most believe his biggest influence came from years of scoring symphonies and quartets of Mozart and Haydn.

Even as a teenager he was such a devoted follower of Mozart that his nickname was “il Tedeschino” or “the little German.” Clearly Rossini was familiar with Mozart’s opera, “The Marriage of Figaro,” based on the second of the trilogy by Pierre-Augustin Caron de Beaumarchais (1732-1799) composed 30 years before Rossini’s Barber of Seville. Rossini was determined to use Beaumarchais’ first play, which was already familiar to opera-goers in the early 19th century, since the well established composer Giovanni Paisiello (1740-1816), had already composed an opera based on it. Rossini changed the title to “Almaviva or The Useless Precaution,” and while Paisiello’s opera enjoyed wide popularity in its time, it was rapidly eclipsed by Rossini’s opera. Photo/Anne M. Peterson The Virginia Opera’s production of “The Barber of Seville,” left to right: Manon Strauss Evrard is Rosina, John Zuckerman is Count Almaviva and Jason Detwiler is Figaro.

Rossini’s “Barber of Seville” was considered the quintessential “opera buffa” of all time. Like Mozart, Rossini shows his genius in his ability to unite the comic and the serious in a single opera--in direct opposition to the prevailing Italian operatic tradition of the period. He encouraged humorous stage gestures throughout his works, but for Rossini, the true comedy must come from the music itself. For example, his overture begins with a somber minor chord, but a comic suspense quickly builds when the violins, and later the quickly repeated measures from the orchestra are added—all in an effort to prepare his audience for the farce to come. Another example of Rossini’s flexible use of humor is in Act II, where Figaro and Almaviva rescue Rosina and Figaro tries desperately to hurry the escape, but the young lovers can’t leave until they each finish their elaborate expressions of devotion to each other. Beaumarchais’ Political Message Beaumarchais was a member of the French secret service and a great supporter of the American Revolution. He operated a fleet of 40 ships that brought weapons, financial support, and supplies to the American Patriots.

His writings had been banned or censored across much of Europe, and he had even been held as a political prisoner for a period. His play, The Barber of Seville, upset many in the aristocracy with its biting political and social commentary, where the main character, Figaro, a commoner, is secure and self-confident because of his inherent belief that he is the equal to any man. Using only his wit, the clever Figaro easily out-maneuvers the nobility, and even an otherwise powerful Count, is unable to achieve anything without Figaro first developing the plan, and then providing the leadership to complete the task. Mozart’s revolutionary Marriage of Figaro developed this theme earlier, and Rossini wanted to elaborate it in his Italian opera. This was one of the first operas to be performed in its original Italian in the New York opera houses. While this is a thoroughly entertaining opera, Rossini’s true mission, as with any classical art form, is not to merely provide graceful melodies or amusing characters, but rather to uplift the audience to the level necessary to meet the challenges of the contemporary world.

While not a profound composer and thinker like Mozart or Verdi, Rossini’s “Barber of Seville” gives the audience great insight and inspiration to discover for themselves the workings of society and the foibles of the characters who populate it. In this spirit the Virginia Opera Company produced a great success which was loyal to the composer’s intent, with one exception. For some unknown reason, at the beginning of this performance as Figaro entered, there appeared three women wearing corsets and bloomers, mentioned above, which the director may have done for some purpose, but only served to distract. However, given the spectacular singing, acting, and otherwise good stage direction, I was won over. Related Music Page Footnotes: 1 This famous aria sung by Don Basilio explains to the virtues of slander as a very effective weapon against any enemy one may wish to destroy “from the inside.” Beaumarchais, Mozart, and other enemies of oligarchism were very familiar with the method developed in the aria below: La calunnia è un venticello un’auretta assai gentile The Barber of Seville - YouTube The Barber of Seville Want to watch this again later? Sign in to add this video to a playlist.

Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Apr 7, 2010 The Barber of Seville (Il Barbiere di Siviglia) is an opera buffa, or comic opera, in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. It premiered (under the title Almaviva, or The Useless Precaution) on February 20, 1816, at the Teatro Argentina, Rome. The overture, first written by Rossini for his operatic dramma serio Aureliano in Palmira, is a famous example of his characteristic Italian style. Hosted by Boston University School of Music and School of Theatre on April 17, 2008. Category The Barber of Seville, or the Useless Precaution - Online Library of Liberty Online Library of Liberty A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.

Pierre-Augustin Caron de Beaumarchais, The Barber of Seville, or the Useless Precaution [1775] Also in the Library: Title Page Edition used: Pierre-Augustin Caron de Beaumarchais, The Barber of Seville, or the Useless Precaution; A Comedy in four Acts. With Songs (London: J. Chouquet, 1776). Available in the following formats: EBook PDF 411 KB This text-based PDF or EBook was created from the HTML version of this book and is part of the Portable Library of Liberty. HTML 230 KB This version has been converted from the original text. Every effort has been taken to translate the unique features of the printed book into the HTML medium. ePub standard file for your iPad or any e-reader compatible with that format About this Title: The first of 3 plays Beaumarchais wrote about a master-servant relationship, Count Almaviva and Figaro, during the social upheavals on the eve of the French revolution. Copyright information: The text is in the public domain. Fair use statement: This material is put online to further the educational goals of Liberty Fund, Inc.

Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit. Table of Contents: THE BARBER OF SEVILLE, OR THE USELESS PRECAUTION; A COMEDY IN FOUR ACTS. By the Author of EUGENIE, or the SCHOOL for RAKES. ADDRESSED TO R. B. SHERIDAN, Esq; LONDON: TO R. B. SHERIDAN, Esq. SIR, ALTHOUGH I have no Sanction for addressing you this Publication, I do not think it less proper, than I think it unnecessary to mention here the Reasons that have induced me to publish (contrary to usual Custom) a Piece before it has been acted in London. As I claim no Merit from publishing this Translation, I believe I need not fear distinterested Censors; and the Gentlemen Reviewers will, I trust, shew the same Candor and Impartiality to this Piece of Mr. Beaumarchais they have shewn before to that Part of his justly admir’d Works that have been translated into the English Language.

* It wou’d be improper, and wou’d not answer my Intention in addressing to you, Sir, the Barber of Seville, were I to alter or retrench one or two Acts, as I intended, and not publish it in four as it is in the Original; that and any other Alteration I leave to be made (if the Piece is deserving his Notice) by the Author of the Duenna, as being most fit to correct its Faults, and more capable of giving it such additional Merit, as will be sure to entitle it to the Favour of the Public. Edition: current; Page: [[ii.]] I know not why (contrary to the establish’d Rule of the Drama) the Author in Spight of the united Clamour of the whole House (when acted) brought out this Piece in four Acts, unless like many other Geniusses that will not be confin’d within the Limits it prescribes, leap’d its Bounds merely for the Sake of swerving from Custom.

This ingenious Author, with his Natural Humour, says in his Preface, he cou’d have made a fifth more Interesting than any of the others—He there go on thus— “In Fact no Body now is ignorant that at the historical Epocha where the Piece ends humourously in my Hands the Quarrel began to be serious, as one may say behind the Curtain, between the Doctor and Figaro about the Hundred Piasters; from Words they proceeded to Blows, the Doctor beaten by Figaro in the Scuffle, made the Net fall which cover’d the Barber’s Head, then was seen with Surprise the Impression of a Spatula that had been applied red hot on his shaven Head.” Read on I pray, Sir, “at this Sight, tho’ sore with the Blows, the Doctor cries with transport: My Son! Oh heavens, my Son! my dear Son!—but before Figaro cou’d hear him, he had renew’d boxing his Father, for in Fact it was him.

“This Figaro, who of his whole Family had only known formerly his Mother, was a natural Son of Bartholo; the Doctor in his Youth had this Child by a Person then in his Service, the consequence of her Imprudences forc’d her to leave it, and she became an abandon’d Prostitute. Edition: current; Page: [[iii.]] “But before she with her Child left the unhappy Bartholo, who then was a Barber, he mark’d his Son with a hot Spatula on the Occiput, that shou’d Fate some Day or other make them meet, he might know him again; the Mother and Child had followed the honourable Business of Beggars for six Years, when a chief with his Gang of Gypsies from Luc Gauric, going thro’ Andalusia being consulted by the Mother on the Fate of her Son, took an Opportunity to steal privately the Child, and left in writing his Nativity. “Thy Son shall shed the Blood from whence he sprung, And after conquering his unhappy Sire, Draw on himself the Weapon and the Crime, And by the stroke gain Happiness and Honour.

* “In changing his Condition, without knowing it, this unhappy young Man had also chang’d his Name against his Will: and was brought up under that of Figaro: he liv’d, his Mother is Marcelina become old, and is a Duenna at the Doctor’s, consol’d for the Loss of her Son, by the dreadful Nativity that was cast for him, but now every Thing is fulfill’d. “In bleeding Marcelina in the Foot, as is seen or rather not seen in the Piece, Figaro fulfils the first Verse. “Thy Son shall shed the Blood from whence he sprung, Edition: current; Page: [[iv.]] When he innocently cuffs the Doctor after the Curtain is down, the second Verse is fulfilled, “And after conqu’ring his unhappy Sire. “At this instant the most interesting Scene takes Place between the Doctor, the old Woman, and Figaro, when they know each other: ’Tis you! ’Tis him! ’Tis thee! ’Tis me! what a Scene! But the Son in despair at his innocent hasty Temper melts in “Tears, and strikes himself with his Razor according to the sense of the third Verse.

“Draws on himself the Weapon and the Crime! And by the Stroke— “What a Sight! and without explaining whether if with his Razor he cut his Throat or his Beard, it may be seen I had it in my Choice to finish my Piece in the greatest Pathetic; in short, the Doctor marries the old Woman, and Figaro according to the last Lesson, —gains Happiness and Honour. “What an Ending!” Without further Quotations from the Preface or commenting thereon, I wish it may, as it is, prove acceptable to you; and that you will believe me to be, with proper Regard, Yours, &c. The DRAMA. [The Dress of the Actors ought to be in the old Spanish Fashion.] Count Almaviva, a Grandee of Spain, the unknown Lover of Rosina, appears in the First Act in a Satin Waistcoat and Breeches, wrap’d up in a large Spanish brown Cloak; a black Hat slouch’d down with a colour’d Ribbon round the Crown. At the Second Act, dress’d as a Cavalier, with Wiskers and short Boots.

At the Third, dressed as a Batchelor of Arts; his Hair curled round, a large Ruff round his Neck, Waistcoat, Breeches, Stockings, and Cloak of a Student. In the Fourth and Fifth, superbly dressed in the Spanish Fashion, with a rich Mantle; and over all, the large brown Cloak, in which he keeps himself wrapped up ’till the Fourth Act. Bartholo, a Physician, Guardian to Rosina; with a short black Coat, button’d down, a large Perriwig, Ruff, and Ruffles turn’d up; a black Girdle, and when he goes from Home a large searlet Cloak. Rosina, a young Lady of noble Extraction, and Ward to Bartholo, in the Spanish Dress.

Figaro, Barber in Seville, in the Dress of a Spanish Majo, his Head covered with a Net, a white Hat and colour’d Ribbon round the Crown, a Silk Handkerchief tied loosely round his Neck, a short Waistcoat and Breeches, with Buttons and Buttonholes fringed with Silver, a large Girdle, his Garters tied round the Leg with Tassels hanging down, a flesh colour’d Waistcoat lapelled, the same Colour of the under Waistcoat, white Stockings, and grey Shoes. Edition: current; Page: [[vi.]] Don Bazile, Organist and Singing Master to Rosina; with a black Hat slouch’d down, a Cassock and long Cloak, without Ruff or Ruffles. Youthfull, an old Domestic of Bartholo. Sprightly, another Servant of Bartholo, a silly sleepy Fellow; both dress’d as Galicans, all their Hair tied in a Queue, flesh-colour’d under Waistcoasts, large Leather Girdles with a Buckle, blue Waistcoats and Breeches, the Sleeves open’d up to the Shoulder to hang loose behind. Notary, or Lawyer.

Permit me, I want to shut the Door after you. [Exit. SCENE IX. Figaro, alone, coming out of the Closet. A very wise Precaution! But I shall take the Liberty of opening it, that I may go out, and the Count come in. What a Villain is that Bazille! ’Tis happy for the World he’s as great a Fool as he’s a Knave. A Rank, a Character, a Family, or a fortune are necessary to a Calumniator; but Bazile is so insignificant, nay, has so contemptible a Character, that he may without Prejudice to any Body tell a Thousand Lyes, for no Mortal will believe one of them. Edition: current; Page: [26] You must call again by and by. Figaro. That’s impossible! To-morrow the whole Garrison is to be purg’d, I have by my interest obtain’d the Jobb, and I leave you to judge, if I have Time to lose—Will you step into your dressing Room? Bartholo. No, Sir, I do not chuse to go in my dressing Room, why can’t you shave me here? Rosina, with disdain.

You are really very civil, why surely you wou’d not be shav’d in my Appartment? Bartholo. Nay, my Lamb, don’t be angry: you have your Lesson to finish, and I am unwilling to lose an Instant the Pleasure of hearing you. Figaro to the Count, in a low Voice. There will be no getting him from hence. Come Sprightly, Youthfull, bring the Bason, Water and every thing necessary for your Master’s shaving. Bartholo. Your calling them will be to some Purpose to be sure, when you forced them to their Bed by your devilish Medicines. Figaro. Well then I’ll wait on myself, are not the things in your Chamber?—[asile] this will draw him out of the Room. Bartholo unties a Bunch of Keys, and as if upon second Thoughts. No, no, I’ll go myself. [to the Count low. Have an Eye upon him I pray? [Exit. Edition: current; Page: [51] But if they shou’d come arm’d. Bartholo.

Why that is possible, and in that Case they wou’d escape my Vengeance; go then up to Marcelina’s Room, and double lock the Door. I’ll go for Assistance, and by watching them in from the Street be sure to take them up for House-breakers; and by that Means we shall at once be revenged and secured from their Attempts. Don’t afflict yourself, my Love shall make you ample amends. [Exit. SCENE IV. Rosina. Oh! Do but forget my Errors. [aside.] Alas! his Love will make me ample amends to be sure.—Wretched Rosina! What shall I do? [bursting into Tears] Lindor is just coming; I will stay, and if I can dissemble with him for a few moments, till by attentive Contemplation of his Guilt, I learn to hate and despise those Charms which won my Soul. Who could have thought it? So bewitching an Air! So noble a Figure! A Voice so tender! Every Thing combin’d to form a vile Seducer!—Alas! alas!—Oh! Heavens! They are opening the Jealousie. [runs out.

Edition: current; Page: [63] Operas by Gioachino Rossini: The Barber of Seville, Matilde di Shabran, Tancredi, William Tell, La Cenerentola, L'italiana in Algeri: Amazon.es: Source: Wikipedia: Libros en idiomas extranjeros Libros en idiomas extranjeros AÃ±adir a la Lista de deseos Â¿Tienes uno para vender? Volver atrÃ¡s Ir adelante Escuchar Reproduciendo... Interrumpido EstÃ¡s escuchando una muestra de la ediciÃ³n de audio Audible.

MÃ¡s informaciÃ³n Ver esta imagen Operas by Gioachino Rossini: The Barber of Seville, Matilde di Shabran, Tancredi, William Tell, La Cenerentola, L'italiana in Algeri (InglÃ©s) Tapa blanda – 15 ago 2011 Tapa blanda, 15 ago 2011 "Vuelva a intentarlo" DescripciÃ³n del producto Reseña del editor Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 34.

Chapters: The Barber of Seville, Matilde di Shabran, Tancredi, William Tell, La Cenerentola, L'italiana in Algeri, Aureliano in Palmira, La donna del lago, Semiramide, List of operas by Rossini, La pietra del paragone, Armida, Il viaggio a Reims, Il turco in Italia, Zelmira, Le siège de Corinthe, La gazza ladra, Bianca e Falliero, Mosè in Egitto, La scala di seta, Adina, Maometto II, Il signor Bruschino, Elisabetta, regina d'Inghilterra, Le comte Ory, L'occasione fa il ladro, Demetrio e Polibio, Robert Bruce, Ermione, La cambiale di matrimonio, L'equivoco stravagante, L'inganno felice, Ricciardo e Zoraide, Otello, Torvaldo e Dorliska, La gazzetta, Sigismondo, Eduardo e Cristina, Ciro in Babilonia, Adelaide di Borgogna, Ivanhoé.

Excerpt: The Barber of Seville, or The Useless Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville (1775), which was originally an opéra comique, or a mixture of spoken play with music. The première (under the title Almaviva, or the Useless Precaution) took place on 20 February 1816, at the Teatro Argentina, Rome. It was one of the earliest Italian operas to be performed in America and premiered at the Park Theater in New York City on 29 November 1825. Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all opere buffe; even after two hundred years, its popularity on the modern opera stage attests to that greatness.

An opera based on the play had previously been composed by Giovanni Paisiello, and another was composed in 1796 by Nicolas Isouard. Though the work of Paisiello triumphed for a time, Rossini's later version alone has stood the test o... No es necesario ningÃºn dispositivo Kindle. DescÃ¡rgate una de las apps de Kindle gratuitas para comenzar a leer libros Kindle en tu smartphone, tablet u ordenador. Apple

Question: Which opera by Rossini has the alternative title The Useless Precaution?
Answer: THE BARBER OF SEVILLE